Null Komma — re... re... re... re... re...

* from the script *

initial situation, contextual description and questions

Andrea and I saw a performance by Marco Teubner and Helge Meyer in Bern at the BONE 18 Performance Art Festiva on 4 December 2015. Their unbroken presentation of masculinity and speechlessness of the two performers provoked us to take their piece as source material for a trial of a ritual in public space and to confront our own cross-borderness.

Open to see, what kind of (differently articulated) presence our drunken occupation of a public square might evoke. What kind of definition, associations of thereness, femaleness and difference become visible? What happens with us, with the space when we 'overwrite/override' the performance by Marco Teubner and Helge Meyer? How does the beetroot soup taste, after having plunged our heads into it and later heating it up and serving it to the audience?

This performance citation took place in a much frequented place in the city center of Basel.

script Dorothea, page by page

action and storyline with questions

*
Address to the audience and ourselves
The context of the Performance is verbally addressed to the audience with the sentence «Dorothea Rust and Andrea Saemann perform and transcend the performance of the two artist Marco Teuber and Helge Meyer, presented on Friday 4 December 2015, announced as 'Black Market International : Interludium', at the Performance Art Festival BONE 18 at Schlachthaus Theater Berne.»
*
Start into the «ritual»
Exposure of the costumes, pouring of the beetroot soup into two bowls, alternatly action at the bowls (exclaiming english words/expressions while plunging the head into the bowl) and at the table (filling brandy into the brandy glasses, stripping them off the table, drinking the brandy at one draught), repeating the action 9 times.
*
Concluding phrases
On one hand Andrea Saemann reading out loud from a slip of paper taking it from her wig after removing it from her head, the following sentence «I reckon, Norbert Klassen might have said in an interview with Gisela Hochuli: 'One has to play at certain high stakes'.» On the other hand Dorothea reading out loud words written on the soles of her feet «stake or effort (left), heel (write).»
*
Afterwards
Liquid, beetroot soup emptying out from the bowls back into the cooking pots, heating and serving to the publique.
Open to see, what kind of (differently articulated) presence our drunken occupation of a public square might evoke.
What kind of definition, associations of thereness, femaleness and difference become visible?
What happens with us, with the space when we 'overwrite/override' the performance by Marco Teubner and Helge Meyer?
How does the beetroot soup taste, after having plunged our heads into it and later heating it up and serving it to the audience?